BECCAFUMI, DOMENICO 
The Nativity | 
(See No. 51) | 


ON PUBLIC EXHIBITION 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE AT 6 EAST 23rp STREET 


BEGINNING FRIDAY, FEBRUARY 197, 1915 
AND CONTINUING UNTIL THE DATES OF SALE 


| ETCHINGS AND ENGRAVINGS 
| BY THE OLD AND MODERN MASTERS 
AND A FEW PAINTINGS 


COMPRISING THE ARTISTIC PROPERTY 
LEFT BY THE LATE 


RUDOLF SECKEL 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF 


JOLINE, LARKIN AND RATHBONE,, ESQRS. 
ATTORNEYS FOR MAY ‘SECKEL, ADMINISTRATRIX 


AT THE AMERICAN ART GALLERIES 


ON TUESDAY, WEDNESDAY AND THURSDAY 
FEBRUARY 23rp, 24TH anp 25TH, 1915 
AT THE HOURS OF 8:30 IN THE EVENINGS 


ILLUSTRATED CATALOGUE 


OF 


ETCHINGS AND ENGRAVINGS 
BY THE OLD AND MODERN MASTERS 
AND A FEW PAINTINGS 


CONSTITUTING THE ARTISTIC PROPERTY 


LEFT BY THE LATE 


RUDOLF SECKEL 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE. DATES HEREIN STATED 


THE ATTRIBUTIONS AND DESCRIPTIONS 
OF THE ETCHINGS, ENGRAVINGS AND WOODCUTS 
ARE BY 
FERDINAND MEDER OF NEW YORK 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, Manacers 
NEW YORK CITY 
1915 


ALL DETAILS OF aiiconee 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 


8. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4. Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be madé on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 


4. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 


Madison Square South, New York 


UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, 
LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, 
ADMINISTRATRIX 


First Session, Numbers 1 to 163, inclusive 


TUESDAY EVENING, FEBRUARY 23d, AT 8:30 O’CLOCK 


A Collection of Etchings, Engravings and Woodcuts by Old 
and Modern Masters, ‘logether with a few Paintings, the 
Property of the Estate of the Late Rudolf Seckel, Esq. 


AFFLECK, ANDREW F. 
All his plates were destroyed after the indicated number 
of proofs had been pulled. 


1. THE DOGES’ PALACE, VENICE. Painter-etching. Signed 


proof on Whatman paper. Limited to 210 impressions. 
2. ANOTHER PROOF of the same. Framed. 
3. ANOTHER PROOF of the same. Framed. 


4. DUMBARTON ON THE CLYDE. Signed proof on Japanese 


paper. Limited to 210 impressions. 


5. EDINBURGH.  Painter-etching. Signed artist’s proof on 
Whatman paper. Framed. 


6. GLOUCESTER CATHEDRAL.  Painter-etching. Signed 
proof on Whatman paper. Limited to 200 impressions. 


AFFLECK, ANDREW F._ (Continued) 
7. ANOTHER PROOF of the same. 


8. ANOTHER PROOF of the same. 
9. ANOTHER PROOF of the same. Framed. 


10. A MOORISH ARCH, TOLEDO. Painter-etching. Signed — 


proof on Japanese paper. Limited to 210 impressions. 
11. ANOTHER PROOF of the same. 


12. ORVIETO. Painter-etching. Signed proof on Whatman pa- 
per. Limited to 105 impressions. 


13. TOLEDO CATHEDRAL, INTERIOR. Painter-etching. 
Signed artist’s proof on Whatman paper. Framed. 


ARENDSEN, P. J. 
14. PORTRAIT OF A CAVALIER. Etching after Frans Halls. 


Signed remarque proof on vellum paper. Framed. 


AUBRUD, E. 


15. LADY HALLETT. Mezzotint after T. Gainsborough, printed 
in colors. Signed artist’s proof with tinted border. 
Framed. 


ALDEGREVER, HEINRICH 
16. THE MONK AND THE NUN. 1530. B. 178. 


ALTDORFER, ALBRECHT 
17. St. CHRISTOPHER. B.19. Very good impression. From 
the P. Gelatly collection. 


18. JUDGMENT OF PARIS. B. 86. Exceedingly fine impres- 


sion, from the E. Schroeter collection. 


ALTDORFER, ALBRECHT. (Continued) 
19. WOMAN BATHING HER FEET. B. 5%. Rare. 


20. ABRAHAM’S SACRIFICE. B. 41. Woodcut. Duplicate 
of the British Museum. 


21. THE RESURRECTION. B. 42. Woodcut. Exceedingly fine 


impression, from the Count Lanna collection. 
22. ST. JEROME. B. 57. Woodcut; inlaid. Very rare. 


23. ANOTHER EMPRESSION of the same. Fine impression. 
From the Van Nagler, Berlin Museum and R. Scholtz col- 
lections. 


ATKINSON, T, L. 


24. THE LADY OF THE LAKE. Engraving in mixed manner 
after S. EK. Waller. Signed artist’s proof on India paper. 


AUDOUIN, PIERRE 


25. THE MUSES MELPOMENE, POLYHYMNIA AND 
ERATO. Line engraving after E. Le Sueur. Apell 13. 
First state. 


AUVRAY, PIERRE-LAURENT 


26. LES JETS D’EAU; LES PEDARTS. Both after Honoré 
Fragonard. Portalis & Beraldi, Vol. I, p. 54. Eighteenth 


century. Line engraving. (2.) 


BACKHUYSEN, HENDRIK. 1795-1860. 
27. RIVER SCENE IN HOLLAND. Water color. 


BAIRD, JOHNSTONE 


28. ON THE AAR. Painter-etching. Signed artist’s proof on 
Whatman paper. Framed. 


BAIRD, JOHNSTONE. (Continued) 
29. HUY ON THE MEUSE. Painter-etching. Signed proof on 


30. 


31. 


32. 


33. 


34, 


35. 


36. 


37. 


38. 


39. 


40). 


41. 


Whatman paper. Limited to 75 impressions. 
ANOTHER PROOE of the same. 
ANOTHER PROOF of the same. Framed. 


MULRAY BAY, DONEGAL. Painter-etching. Signed proof 
on Whatman paper. Limited to 100 impressions. 


ANOTHER PROOF of the same. 
ANOTHER PROOF of the same. Framed. 


RICHMOND BRIDGE. Painter-etching. Signed proof on 
Whatman paper. Limited to 50 impressions. 


ANOTHER PROOF of the same. Framed. 


WESTMINSTER BRIDGE. Painter-etching. Signed proof 
on Whatman paper. Limited to 100 impressions. (Plate 
destroyed.) 


ANOTHER PROOF of the same. 
ANOTHER PROOF of the same. 
ANOTHER PROOF of the same. Framed. 


TOWN HALL, ZURICH. Painter-etching. Signed proof on 
Whatman paper. 


42, ANOTHER PROOF of the same. Framed. 
BAL, C. J. 
43. L?>AMOUR EN VISITE. Line engraving after J. L. Hainon. 


Proof before letters on India paper. 


BALDUNG, HANS (cattep GRUN) 
44, SEVEN HORSES FIGHTING. 15384. Woodcut. B. 56. 


BARON, BERNARD 


45. COUNT JOHN OF NASSAU AND HIS FAMILY, after ‘A. 
van Dyck. Andresen 8. 


BARTHELMESS, N. 


46. DER FEIERTAG. Line engraving after A. Liegert. Apell 
p- 8. Open letter proof stamped. 


BARTOLOZZI, FRANCESCO 


47, A SACRIFICE TO CUPID. Stipple engraving after J. B. 
Cipriani. Nicely printed in red. Framed. 


48. THE GRACES ATTENDING A BRIDE. Vignette. Etch- 
ing finished with the graver, after J. B. Cipriani. Framed. 


BARY, HENDRIK 


49. JACOB BATELIER. Preacher of the Remonstrants at s’Gravy- 
enhage, after a painting by I. Westerbaen. Very fine im- 
pression. 


BAUSE, JOHANN FRIEDRICH 
50. PETER THE GREAT, after Le Roy. Andresen 11. Second 


state. 


BECCAFUMI, DOMENICO 


51. NATIVITY. Painter-etching. B 1. Early impression before 
the retouch. Very fine and exceedingly rare. With 17-27 
mm. margin. 
| See Frontispiece Reproduction. | 


BEGA, CORNELIS 
52. THE YOUNG HOSTESS. Du. 38. Second state. 


BEGA, CORNELIS. (Continued) 
58. PEASANT CARESSING A YOUNG HOSTESS. Du. 34. 


First state. Very fine impression with large margin. 
From the “B. E.,” N. D. Goldsmid and H. Buttstaedt col- 


lections. 


BEHAM, BARTHEL 


54. FOUR SKULLS. B. 28. Rare. From the Count v. Lanna 
and R. Scholtz collections. 


BEHAM, HANS SEBALD 
55. THE SEVEN PLANETS. Pauli 13864-1370. Very fine, even 


impressions. From the R. Scholtz collection. ee) 


56. METHUSELAH, Pauli 698; NOAH, Pauli 700. From the 
set of “Patriarchs, Their Wives and Children.” Wood- 
Gutsa 1020) 


57. ST. SEBALDUS (OR JACOBUS MAJOR). _ Woodcut. 
BT 39. 


58. THE KIRMESS AT MEGELDORF. Woodcut in six blocks. 
Pass. 198. Paul 1247. (6.) 


BEJOT, EUG. 


59. BAINS VIGIER, PARIS. Painter-etching. Signed proof on 
Whatman paper. Limited to 50 impressions. 


60. L-ESTACADE, PARIS. Painter-etching. Signed proof on 
Whatman paper. Limited to 50 impressions. 


BIONDI, VINCENZIO 


61. ST. MAGDALEN (with the Salve-Box.) Line engraving after 
Carlo Dolce. Apell 5. First state. Remarque proof on 
India paper, with the unfinished jewel. 


| 
ee a ae ere 


BIOT, GUSTAVE | 
62. AGLAE. Line engraving after Alex. Cabanel. 


BIYDER, A. 


63. A SWISS MOUNTAINEER. Painting. Head and shoulders’ 
portrait of a white whiskered man of late years. Wears a 
green feathered soft hat, and a drab colored coat. Signed: 
A. Biyder. Height, 9 inches; width, 7 inches. 


BLOOS, RICHARD—FReEnNcH, ConTEMPORARY 
64. SPRINGTIME. Painting. A park scene with children play- 


ing amongst themselves, and their nurses conversing with 
one another. On the left are steps leading to a path 
through dense trees. The picture presents a rich green 
and purplish hue, with spontaneous spotting of red, blue 
and black. Signed: Richard Bloos, Paris, 1912. Height, 
25 inches; length, 36 inches. 


BLOOTELING, ABRAHAM 


65. HIERONYMUS VAN BEVERNINCK.  Bourgomaster of 
Gouda and ambassador. Laine engraving after B. Vaillant. 
W. 3. Early impression before the words: ‘‘et exc.,’ were 


added. With margin. 


BOUTELOU, L. 


66. VENUS UPBRAIDING GANYMEDE FOR GAMBLING 
WITH CUPID. Stipple after A. Kauffmann. Circular. 
Artist’s proof printed in reddish brown. Framed. 


BREBIETTE, PIERRE 


67. TWELVE FRIEZES REPRESENTING BACCHANALIAN 
AND SATYRICAL SACRIFICES. Andresen 12. Third 
state; “F. Mariette le fils,’ which appeared in the left 
corner of the lower margin, has been burnished out. (12.) 


BRIDGEWATER, HENRY SCOTT 
68. CLYTIE. Mezzotint after Sir Fredk. Leighton. Artist’s proof 


on India paper. 


69. MRS. GROVE. Mezzotint after G. Romney. Artist’s proof 


on India paper. 


70. PHYLLIS. Mezzotint after Luke Fildes. Artist’s proof on 
India paper. 


7ab ANOTHER PROOF of the same. ' 


72. ANOTHER PROOF of the same. 


73. THE SHEPHERDESS. Mezzotint after Luke Fildes. Signed 
artist’s proof on India paper. 


74. THORN AMIDST ROSES. Mezzotint after J. Sant. Signed 
artist’s proof on India paper. 


BROME, C. 


75. LADY HAMILTON AS ARIADNE. After G. Romney. Trial 
proof with the artists’ names in scratched letters. Laid 
down. The plate, which at the engraver’s death was in this 


condition, has been finished by T. Bragg. 


BROUET, A. 


76. AN OLD MILL. Painter-etching. Signed artist’s proof on 
Creswick paper. Framed. 


BRUNER, T. 


77. MINIATURE ON IVORY. Portrait of curly-haired gentle- 
man, wearing black coat. Height, 38 inches; width, 244 
inches. 


BUHOT, FELIX 


78. SPLEEN ET IDEAL, OU LE FIACRE AUX AMOURS. 
Bourcard 73. First state. First biting, before the cupids 
and before the signature; on aqua-fortist’s paper. With 
an autograph dedication to Mr. Marthelot, signed by the 
etcher. Framed. 


79. PETITES CHAUMIERES. B. 149. Fourth state. Proof 
on tinted paper. Stamped. 


80. BERGERIES: SOLEIL COUCHANT. B. 151. Proof on 
Creswick paper. Stamped and signed. Marked ‘“‘épreuve 
du 5’ état.” 


81. UN QUAI DE PARIS: MATINEE D’HIVER. B. 158. 
Fifth state. Proof on thin Japanese paper. Stamped. 


82. LES OIES. B. 166. Fourth state. Proof on loose India 
paper. 


BURGESS, WALTER W. 


88. GOMSHALL MILL. Painter-etching. Signed proof on vel- 
lum. 


84. ANOTHER PROOF of the same. 


BURKE, THOMAS 


85. PAPIRIUS PRAETEXTATUS, entreated by his mother to 
disclose the secrets of the Senate. After Angelica Kauff- 
mann. Circular. Stipple printed in red. 


BURGKMAIR, HANS 


86. THE THREE GOOD CHRISTIANS. (St. Bridget, St. Eliz- 
abeth and St. Helen.) B. 65. Woodcut. Fine old im- 


pression. Duplicate of the Berlin Museum. 


CALLOT, JACQUES 
87. THE FAIR AT GONDREVILLE. Meaume 624. Second 


state, with Callot’s name and address only; before “Israel 
Sylvestre excudit, etc.” Very fine impression on thin 


paper. 


CANALE, ANTONIO 


88. GRA DELLA VALLE, PADUA. De Vesme 7. First state, 
before “KE. 3” in the right lower corner. Very fine impres- 
sion with full margin. 


CARON, AD. ALEX. JOSEPH 


g9. FAUST APERCEVANT MARGUERITE A LA SORTIE 
DE L’EGLISE. Line engraving after Ary Scheffer. 
Apell 8. First state. Remarque proof on India paper 
with the white chimney; signed and dedicated to J. Bain, 
the engraver. 


90. THE SAME. Second state. Artist’s proof on India paper. 
Signed and numbered “13.” 


91. MADAME LA DUCHESSE DE BERRY. Line engraving 
after F. Gérard. Apell 5. First state. Proof on India 
paper with the names of the artists only in scratched 
letters. 


CARPI, UGO DA 


92. ST. PETER PREACHING. Chiaroscuro from 3 blocks after 
Palidoro. B. 25. Second state, with the inscription. 
Very fine impression from the Frauenholz collection. 


CHARLET, FRANTZ 


938. DUTCH FISHERMEN’S CHILDREN. Painter-etching and 
aquatint printed in colors. Stamped artist’s proof No. 9 
on Whatman paper. Framed. 


CHARLET, FRANTZ. (Continued) 


94. THE ROSEWINDOW, Notre Dame, Paris. Painter-etching. 
Signed artist’s proof No. 82 on Whatman paper. Lim- 
ited to 100 impressions. Framed. 


95. SHEEP ENTERING FOLD. After Mauve. Aquatint and 
etching, printed in colors. Signed proof on Whatman 
paper. 


CHODOWIECKT, DANIEL 


96. D. I. WOLFGANG VON GOETHE. Engelmann 166. Line 
engraving from a drawing by G. M. Kraus. 


97. FREDERIC II, ROY DE PRUSSE. (Kéenig Friedrich’s II 
Wacht parade.) E. 200. Third state. 


COLOR PRINTS 
98. THE BLUE BAY after Gainsborough. 
99. MISS FARREN after Thos. Lawrence. 
100. UNE HALTE after Delort. 


CONTARDI, ALESSAN DRO 


101. THE CHARGE TO PETER. Line engraving after N. 


Poussin. 


CORMACK, M. 
102. AMELIA. Mezzotint after John Opie. Signed artist’s proof 


on India paper. 


COURTRY, CHARLES 
1038. READING MAGDALEN after Henner. Signed remarque 


proof on vellum. 


104. PORTRAIT OF JOZEF ISRAELS after himself. Print on 
India paper. 


CRANACH, LUCAS 
105. THE PENANCE OF ST. JOHN CHRYSOSTOM. B. 1. 


Engraving on copper. 


106. ONE OF THE MARTYRDOM OF THE TWELVE APOS- 
TLES. B. 40. Woodcut. Very fine, early impression. 


107. ST. GEORGE. B. 67. Woodcut. 
108. TOURNAMENT OF 1509. B. 126. Woodcut. Fine, old 


impression. 


DAHL, CAREL L. 


109. AN UNFAIR PROPOSITION. Etching after J. M. Dealy. 
Remarque proof on vellum paper. Signed by both artists. 
Framed. 


DASSONNEVILLE, JACQUES 


110. TWO BEGGARS AT THE WAYSIDE. R. Dumesnil - 


10. Fine impression with small margin. 


DAUBIGNY, C. F. 
111. LES VENDANGES. Painter-etching. B. 107. First state 


on “aqua-fortist’s” paper. Full margin. 


DAY, JOHN 


112. OLD KINGS MANOR, KINGSBURY.  Painter-etching. 
Signed proof on Whatman paper, limited to 50 proofs; 
plate destroyed. 

118. ANOTHER PROOF of the same. 

114. ANOTHER PROOF of the same. 


115. ANOTHER PROOF of the same. Framed. 


DEBAINES, BRUNET 


116. CHURCH NEAR MALINES.  Painter-etching. Signed 
artist’s proof on Whatman paper. 


117. MISTY SUNSET ON THE MEDITERRANEAN. Etching 
after L. Harpignies. Remarque proof on vellum. Signed 
by both artists. Framed. 


DEININGER, J. F. 


118. VORLESUNG IM PARK. Line engraving after A. v. Ram- 
berg. Apell 1. First state; proof before all letters on 
India paper. 


119. ANOTHER PROOF of the same. 


DE LAUNAY, NICHOLAS 


120. L,HEUREUSE FECONDITE (after H. Fragonard); LE 


BONHEUR DU MENAGE (after J. B. Leprince). Line 
engravings. Both framed. (2.) 


DELIGNON, JEAN LOUIS 


121. LA FELICITE VILLAGEOISE. Line engraving after Sig- 
mund Freudenberger. Portalis and Beraldi, Vol. I. pp. 
709-11. 


DEMARTEAU, GILLES 
122. SHEPHERD (508); SHEPHERDESS (509). Both after 


J. B. Huet. Engraved in crayon manner (the invention 
of the engraver) and printed in red and black. (2.) 


123. INNOCENCE, after Huet. Engraved in crayon manner 
(Demarteau’s invention) and printed in red and black. 
Framed. 


DEQUEVAUVILLER, FRANCOIS 


124. LE CONTRETEMPS. Line engraving after Lavreince. Por- 
talis and Beraldi, 3. 


DERTINGER, E. 
125. OTTILIE. Line engraving after W. V. Kaulbach. Apell 8. 


Proof before letters on India paper. 


DESCOURTIS, CHARLES MELCHIOR 


126. FOUR VIEWS IN SWITZERLAND. After Rosenberg and 
Wolff. Bridge over the Aar; Falls of the Tritt; Lake 
Thun; Castle Schwanau. Very fine aquatints printed in 
colors. (4.) ? 


DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 


127. LA BELLE JARDINIERE. Line engraving after Raphael. 
Apell 4. Fourth state. 
LA VIERGE AU LINGE. Laine engraving after Raphael. 
Apell 5. Third state. With the large monogram stamp of 
the engraver. C2) 


128. LES MUSES ET LES PIERIDES. Line engraving after 
Perino del Vaga. Apell 18. Third state, with the en- 


graver’s small monogram stamp. 


129. PHEDRE ET HIPPOLYTE. Line engraving after Pierre 
Guérin. Apell 19. First described state, with Napoleon’s 
stamp. 


DIETRICY, CHR. W. 


180. THREE SMALL LANDSCAPES in the style of v. Ever- 

dingen and Rembrandt. L. 128. First and third states 
and L. 129. 

BATHING NYMPHS. L. 136. 

THE TEMPLE OF THE SYBIL OF TIVOLI. L. 157. 
First state. 

AN UPRIGHT LANDSCAPE in the style of S. Rosa. 
L. 158. First state. (6.) 


DOWNMAN, JOHN 


131. MISS FARREN, engraved by Tomkins. Stipple printed in 
light colors. 


DROEHMER, HERRMANN 


182. MOTHER’S JOY. Engraving in mixed manner after Am- 
berg. Artist’s proof on India paper. 


133. THE FLUTE. Line engraving after R. Beyschlag. Artist’s 
proof on India paper. 


134. ANOTHER IMPRESSION. Proof before letters on India 
paper. 


DURER, ALBRECHT 
135. PETER AND JOHN, healing the sick. B. 18. From ‘the 


“Little Passion on copper.” Good impression in excellent 
condition, the two upper corners have a tiny piece snipped 
from them. From the J. Peoli and R. Hoe collections. 


1386. THE SMALL CRUCIFIXION; from the sword-hilt of Em- 
peror Maximilian I. B. 28. Four old copies. ( 4.) 


1387. THE VIRGIN WITH THE CHILD IN SWADDLING 
CLOTHES. B. 38. Very fine impression with 5 mm. 
margin all around. From the Beham, P. Mariette, V. Nag- 
ler, Berlin Museum and R. Pelzer collections. 


138. ST. JEROME IN PENITENCE. B. 61. An impression of 
high quality, but the paper has many large abrasions on 
the back and perhaps a tear in the sky, which have been 
very cleverly repaired. The print also has a false margin, 
which can hardly be detected. From the Fritz Rumpf col- 
lection. 


DURER, ALBRECHT. (Continued) 


139. 


140. 


141. 


142. 


143. 


144. 


145. 


146. 


ST. GENEVIEVE, or the PENANCE OF ST. JOHN 
CHRYSOSTOM. B. 63. Very good old impression on 
paper with the watermark Hausmann 2, bull’s head. No 
margin. 


THE TURKISH FAMILY. B. 85. Exceedingly fine im- - 


pression. No margin. 


PHILIP MELANCHTHON. B. 105. Fine impression 
closely trimmed. From the Pierre Mariette, Ambroise 
Firmin-Didot and P. Von Baldinger collections. 


THE LIFE OF THE VIRGIN. Four woodcuts of the set. 
The Betrothal (B. 82); The Circumcision (B. 86); 
The Adoration of the Kings (B. 87), on paper with the 
watermark Hausmann 52; Christ Taking Leave of His 
Mother (B. 92), on paper with the watermark Haus- 
mann 31. 


THE BEHEADING OF ST. JOHN, B. 125. Very fine im- 
pression, but creased. From the P. Gelatly collection. 


THE MARTYRDOM OF THE TEN THOUSAND. B. 117. 


From the collection “R. S.” 


PORTRAIT OF DURER. B. 156. The original, with mono- 
gram and date. 


THE DURER HOUSE, NURNBERG. Etching by J. C. 
Erhard after T. A. Klein. Framed. 


EARLOM, RICHARD 


147. 


148. 


GAME MARKET. Wessely 109. Mezzotint after F. Sny- 
ders Smith. Proof before letters. Framed. 


WOMEN BATHING (13); THE HAPPY FAMILY (384). 
both after G. B. Cipriani. Engraved in crayon manner 
and printed in red and black. Fine impressions with full 


margin. (2.) 


ba 


EDELINCK, GERARD 


149. CHARLES MOUTON, court musician to Louis XIV. R. D. 
281. Third state. Somewhat torn and laid down. 


EICHENS, HERRMANN 


150. CHRISTIAN MARTYR. Engraving in mixed manner after 
Paul Delaroche. Artist’s proof on India paper. 


EILERS, GUSTAV 


151. THE TRIBUTE MONEY. = Line engraving after Titian. 
Apell 1. Second state. Artist’s proof on India paper. 
THE SAME. Fourth state, with the inscription on India 


paper. (2.) 


152. PORTRAIT OF ADOLPH MENZEL. Etching from life. 


Remarque proof on vellum paper. 


EVERY, G. H. 


153. MISS BATEMAN in the character of “Leah.” Mezzotint 
after EK. Collins. Proof on India paper. Signed by Kate 


Josephine Bateman. 


EYRE, BERNARD 
154. HILLSIDE FARM. Painter-etching. Signed artist’s proof 


on Japanese paper. Limited to 50 impressions. 


155. MOONRISE ON THE KENNET. Painter-etching. Signed 
artist’s proof on Japanese paper. Limited to 50 im- 
pressions. 


156. ANOTHER PROOF of the same. 


157. SCHEREGATE STEPS, COLCHESTER. Painter-etching. 
Artist’s proof on Japanese paper. Limited to 50 impres- 
sions. Plate destroyed. 


EYRE, 
158. 


159. 
160. 


161. 


162. 


BERNARD. (Continued) 
ANOTHER PROOF of the same. 


ANOTHER PROOF of the same. 


ANOTHER PROOF of the same. Framed. 


TALLYLYN.  Painter-etching. Signed artist’s proof on | 


Japanese paper. 


ANOTHER PROOF of the same. 


FANTUZZI, ANTONIO (cattep DA TRENTO) 


163. 


HONORS TO PSYCHE. Chiaroscuro from two blocks after 
Salviati B. 26. First state before Andreani’s mono- 


pram, etc, 


AT THE AMERICAN ART GALLERIES 
Madison Square South, New York 


UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, 
LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, 
ADMINISTRATRIX 
Second Session, Numbers 164 to 333, inclusive 


WEDNESDAY EVENING, FEBRUARY 24th, AT 8:30 O’CLOCK 


FARRELL, FRED A. 
164. HOTEL DE VILLE, BRUSSELS. Painter-etching. Signed 


artist’s proof on Japanese paper. Framed. 


165. CAUB ON THE RHINE. Painter-etching. Signed artist’s 
proof on Whatman paper. Limited to 75 impressions. 


166. ANOTHER PROOF of the same. Framed. 


167. FRANKFURT CATHEDRAL.  Painter-etching. Signed 
artist’s proof on Whatman paper. Framed. 


168. HEIDELBERG ON THE NECKAR.  Painter-etching. 
Signed artist’s proof on Japanese paper. Limited to 
75 impressions. 


169. ANOTHER PROOF of the same. Framed. 


170. GATEWAY, NEW COLLEGE, OXFORD. Signed proof on 
thin Dutch paper. Framed. 


171. YORK MINSTER. Painter-etching. Signed artist’s proof 


on Whatman paper. 


172. ANOTHER PROOF of the same. Framed. 


FEDDER, OTTO 


173. THE CONVERSATION. (Painting.) Two occupants of an 
old-fashioned vehicle have halted on the road to converse 
with a hunter who bears a gun on his shoulder. Signed: 
Otto Fedder. Height, 414 inches; length, 514 inches. 


FITTON, HEDLEY 


174. COUR DU DRAGON, PARIS. Original pencil drawing. 
Height, 18 inches; width, 7 inches. Very fine. Framed. 


175. ROSLYN CHAPEL, NEAR EDINBURGH. Painter-etching. 
Signed artist’s proof on Whatman paper. Laid down and 
matted. 


176. SHRINE OF EDWARD THE CONFESSOR, WESTMINS- 
oo a eee TER. Painter-etching. D. 381. Signed artist’s proof on 
how Whatman paper. Framed. 


177. ST. BARTHOLOMEW THE GREAT, SMITHFIELD. 
1909.  Painter-etching. Signed artist’s proof on thin 
Dutch paper. Framed. 


178. ST. ETIENNE, BEAUVAIS. Painter-etching. Signed ar- 
tist’s proof on Whatman paper. 


FONCEH, CAMILLE 


179. DAWN. Painter-etching. Signed artist’s proof on vellum 
paper. Framed. ) 


FULLWOOD, JOHN 
180. AN ENGLISH ROAD AND RIVER. Painter-etching. 


Signed artist’s proof on thin Japanese paper. Framed. 


181. THE HEAD OF THE LOCK. Painter-etching. Signed ar- 
tist’s proof on thin Dutch paper. Framed. 


182. ANOTHER PROOF of the same on Japanese paper. Framed. 


FULLWOOD, JOHN. (Continued) 


183. LALEHAM MEADOW. Painter-etching. Signed artist’s 
proof on thin Dutch paper. Framed. 


184. WARWICK COTTAGES, LEAMINGTON.  Painter-etch- 
ing. Signed artist’s proof on Japanese paper. Limited 
to 50 impressions. 


185. ANOTHER PROOF of the same. 
186. ANOTHER PROOF of the same. Framed. 


GARAVAGLIA, GIOVITA 


187. BEATRICE CENCI. Line engraving after Guido Reni. Apell 
15.- Second state; open letter proof. 


188. ANOTHER PROOF of the same. 


GAREN, GEORGE 7 
189. LE SOIE, VILLE @AVRAY. Etching after Corot. Signed 


artist’s proof on vellum paper. Framed. 


GARNIER, FRANCOIS 


190. RAPHAEL ET LA FORNARINA. Line engraving after 
Picot. Apell 4. Artist’s proof on India paper. 
THE SAME, with the full inscription, on plain plate 


paper. (2) 


GAUGAIN, T. 


191. CHILDREN AND THE SHEPHERD BOY.  Stipple 
printed in colors after Westall. Framed. 


GELEE, ANTOINE FRANCOIS 


192. DAPHNIS AND CHLOE. Line engraving after L. Hersent. 
Apell 4. First state. The artists’ names and the date 
only in scratched letters. Stamped with the engraver’s 
monogram stamp. 


GELEE, ANTOINE FRANCOIS. (Continued) 


1938. LA JUSTICE DIVINE POURSUIVANT LE CRIME. Line 
engraving after Prud’hon. Apell 7. Proof before letters. 
With the dry stamp of the “Société des amis des Arts.” 


GERARD 


194. MINIATURE ON IVORY. Half-length portrait of woman 
in yellow décolleté gown. In leather case. Height, 314 
inches; width, 214 inches. 


GLOCKENTON, ALBRECHT 
195. CHRIST BEFORE THE HIGH PRIEST. B. 6. From the 


Passion. 


GOLTZIUS, HENDRIK 


196. THE CIRCUMCISION in Diirer’s manner. One of the six 
Masterpieces. Dir. 18. Third state, with the numeral 4. 
From the von Derschau and Berlin Museum collections. 


HADEN, SIR FRANCIS SEYMOUR 


197. KENSINGTON GARDENS. The small plate. Painter-etch- 
ing. H. 12. Intermediate proof between the second and 
third states. Proof on Dutch paper. Framed. 


198. THE TOWING PATH. Painter-etching. H. 76. Second 
state. Signed artist’s proof on thin Dutch paper. \ From 
the Harrington collection. Framed. 


199. TWICKENHAM CHURCH.  Painter-etching. H. 107. 
First state. Proof on heavy English paper. Printed by 
F. Goulding. From the F. Goulding collection. Framed. 


200. THE BREAKING UP OF THE AGAMEMNON. Painter- 
etching. H. 145. First state. Very fine impression on 
heavy paper with 16 mm. margin.: Not signed. 


201. CHALLOW FARM. Painter-etching. H. 175. First state. 
Proof on Dutch paper. Framed. 


! 
i 
: 
) 


HADEN, SIR FRANCIS SEYMOUR. (Continued) 


202. COWDRAY CASTLE—WITH COWS.  Painter-etching. 
H. 220. First state. Signed proof on Dutch paper, with 
a note to the printer, Mr. F. Goulding. From the F. 
Goulding collection. 


HAIG, AXEL HERMAN 


203. A GERMAN MILL. Painter-etching. Proof on heavy Eng- 
lish paper. Framed. 


HANKEY, W. LEE 


204. EARLY MORNING. Painter-etching. Plate 38. Signed ar- 
tist’s proof No. 5 on Whatman paper. With the etcher’s 
stamp. Printed by the artist himself. 


205. YOUTH. Painter-etching. Plate 46. Signed artist’s proof 
No. 3 on Whatman paper. With the etcher’s stamp. 
Printed by the artist himself. 


HAYKS,. G. 


206. CORFE, DORSET. Painter-etching. Signed artist’s proof 
on Whatman paper. Framed. 


207. HAMBURG—FLEET.  Painter-etching. Signed artist’s 
proof on Whatman paper. Limited to 75 impressions. 
Plate destroyed. 


208. ANOTHER PROOF of the same. 

209. ANOTHER PROOF of the same. Framed. 

210. OLDEST HOUSE IN WALES, CONWAY. Painter-etching. 
Signed artist’s proof on Whatman paper. Limited to 75 


impressions. Plate destroyed. 


211. ANOTHER PROOF of the same. 


212. ANOTHER PROOF of the same. Framed. 


HAYES, G. (Continued) 


218. POLPERRO.  Painter-etching. Signed artist’s proof on 
Whatman paper. Limited to 75 impressions. 


214, POOLE, DORSET. Painter-etching. Signed artist’s proof 
on Whatman paper. Framed. 


215. RUE DAMIETTE, ROUEN. Painter-etching. Signed ar- 
tist’s proof on Whatman paper. Framed. 


216. SHAKESPEARE’S BIRTHPLACE, HENLEY STREET, 
STRATFORD-ON-AVON. Painter-etching. Signed ar- 


tist’s proof on Japanese paper. Framed. 


217. TEWKESBURY. Painter-etching. Signed artist’s proof 
on Whatman paper. 


218. ANOTHER PROOF of the same. Framed. 


HENRIQUEL-DUPONT, L. P. 


219. GUSTAVE VASA’S ABDICATION. Line engraving after 
L. Hersent. Apell 7. Second state. Open letter proof 
No. 58 with the misspelling of the name ‘‘Wasa.” 


HOLE, WILLIAM 


220. STREET IN JAFFA. Painter-etching. Signed artist’s 
proof on thin Japanese paper. Framed. 


HOLLAR, WENZEL 


221. DAVID PLAYING BEFORE SAUL. After H. Holbein. 
Parthey 72. Fine impression, with margin, from the H. 
Weber collection. 


222. THE DESCENT FROM THE CROSS. After H. Holbein. 
P. 109. Very fine, but closely trimmed, with a slight stain. 


HOUBRAKEN, JACOB 


223. 


A. ASHLEY COOPER, EARL OF SHAFTESBURY. After 
Sir Peter Lely. 


‘TILLITSON, ARCHBISHOP OF CANTERBURY. = After 


G. Kneller. Line engravings. Both framed. CZs) 


HOWARTH, A. E. 


224 


225. 


226. 


yi 


228. 


229. 


230. 


231. 


ABBEVILLE. Painter-etching. Signed artist’s proof on 
thin Dutch paper. Framed. 


COURTYARD OF WILLIAMS COLLEGE. Painter-etch- 
ing. Signed artist’s proof on thin Dutch paper. Framed. 


GATEWAY, NEW COLLEGE, OXFORD. Painter-etching. 
Signed artist’s proof on Whatman paper. Framed. 


GOUROCK. Painter-etching. Signed artist’s proof on thin 
Dutch paper. Framed. 


RICHMOND CASTLE, YORKSHIRE.  Painter-etching. 
Signed artist’s proof on Whatman paper. Printed by the 
etcher. 


WINCHESTER CATHEDRAL, INTERIOR.  Painter- 
etching. Signed artist’s proof on Whatman paper. 


ANOTHER PROOF of the same. Framed. 


WINDMILL NEAR ABBEVILLE. Painter-etching. Signed 
artist’s proof on Whatman paper. Limited to 22 impres- 
sions. Plate destroyed. 


ISRAELS, JOZEF 


232. 


BLIND MAN WALKING. Painter-etching. Signed artist’s 
proof on Dutch paper. Framed. 


JACQUE, F. 


233. 


SHEEPFOLD, FEEDING TIME. Etching after Charles 
Jacque. Signed artist’s proof, printed by the etcher him- 
self on Dutch paper. Framed. 


JAGEMANN, FERDINAND 


234. PORTRAIT OF GOETHE. By an unknown engraver. 
ANOTHER, engraved by Muller. 
ANOTHER, engraved by F. Weber. (3.) 


JAMES, CLIFFORD R. 
235. THE COUNTESS OF WESTMEATH. Mezzotint printed — 


in colors. Signed proof on India paper. 
236. ANOTHER PROOF of the same. 
237. ANOTHER PROOF of the same. : 
238. ANOTHER PROOF of the same. Framed. 


239. SURPRISE. Mezzotint printed in colors. Signed proof on 
India paper. 


240. ANOTHER PROOF of the same. 


241. ANOTHER PROOF of the same. Framed. 


JAMES, GEORGE P. 
242. LADY BEAUMONT, after Sir Josh. Reynolds. Mezzotint 


printed in colors. Signed proof on India paper. 


243. ANOTHER PROOF of the same. Framed. 


JANINET, FRANCOIS 


244. LE COMEDIENS COMIQUES. Etching and aquatint after 
A. Watteau, printed in colors. Portalis & Beraldi 51. 
Framed. 


245. VUE DE LA GRECE (Roman ruins). Etching and aqua- 


tint after Pernet and printed in colors. Framed. 


246. TELL’S CHAPEL IN SWITZERLAND. Etching and aqua- 


tint printed in colors. Framed. 


JANINET, FRANCOIS. (Continued) 


247. TWO VIEWS IN SWITZERLAND. After Wolff. Thun 
from the south and Thun from the west. Very fine aqua- 
tint printed in colors. (2.) 


JONES, JOHN 


248. LORD HENRY AND LADY CHARLOTTE SPENCER, 
after Sir Joshua Reynolds. Stipple printed in brown. 
Very attractive children portraits. 


KLOMP, ALBERT. 1618-1688. 
249, LANDSCAPE WITH COWS AND SHEEP REPOSING. 


Water color. 


KNAUS, LUDWIG 
250. THE BAPTISM. Engraved in mixed manner by J. Ballin. 


Signed artist’s proof on India paper. 


251. ANOTHER PROOF of the same. 


KRUG 
252. MINIATURE PORTRAIT ON IVORY. Head and shoulders 


of a dark-haired young woman, facing the left, wearing 
a pale Nile-green dress and bonnet. Height, 3 inches; 
width, 214 inches. 


LAMOTTE, ALPHONSE 
253. LE MARIAGE. Line engraving after Emile Bayard. Signed 


artist’s proof on India paper. 


254. THE BAPTISM. Line engraving after Emile Bayard. Signed 
artist’s proof on India paper. Only 75 impressions. 


255. ANOTHER PROOF of the same. 


LAUTENSACK, HANS SEBALD 


256. UPRIGHT LANDSCAPE, with a big rock to the right. 
B. 26. 


LEVILLY, J. P. 
257. LE PAS DANGEREUX, after a drawing by the engraver. 


Fine stipple printed in colors. 


LEVIS, MAURICE. Frencu: ConrTEMPORARY. 
258. ANDELYS IN SEPTEMBER. (Painting.) A bend of the 


river which leads in the centre of the picture to a distant 
town. ‘Toward the right in the foreground along a path 
by the water’s edge are partly overhanging vine-covered 
trees, and behind on the hillside is a castle in ruins. Signed: 
Maurice Lévis. Height, 7 inches; length, 10 inches. 


259. THE SEINE NEAR LE PETIT ANDELYS. (Painting.) To 
the bright sunlight, near the water’s edge, is seated a 
country girl tending sheep. On the right trees are partly 
casting their shadows on the road which leads to build- 
ings in construction. Along the water’s edge are flowers 
of varied colors, and a fisherman with his boat. The sky 
line is relieved by wooded cliffs clear across the picture. 
Signed: Maurice Lévis. Height, 7 inches; length, 10 
inches. 


LOGGAN, DAVID 
260. SIR THOMAS ISHAM OF LAMPORT. Engraved from 


life. Very fine impression. 


LUIGINI, F. J. 


261. AUBERGE DU PERROQUET.  Painter-etching and aqua- 
tint printed in colors. Signed artist’s proof No. 62 on 
Whatman paper. 


LUIGINI, F. J. (Continued) 


262. LE PETIT PONT. Painter-etching and aquatint printed in 
colors. Signed artist’s proof No. 196 on Whatman pa- 


per. 
263. RETOUR DU TROUPEAU. Painter-etching and aquatint 


printed in colors. Signed artist’s proof No. 194 on What- 
man paper. 


LUSY 


264. LANDSCAPE. Painter-etching. Signed artist’s proof No. 
10 on Creswick paper. Limited to 50 impressions. 


MANDEL, J. A. EDUARD 


265. DIE LURLEY. Line engraving after Carl Begas. Apell 15. 
Third state with the inscription and printer Bougeard’s 
address. 

DER ITALIENISCHE HIRTENKNABE. Line engraving 
aiter L. Pollack. Apell 17. Fifth state, the printer’s 


name erased. (2.) 


265. KINDER MIT BLUMEN SPIELEND. Line engraving after 
E. Magnus. Apell 18. Fourth state. Framed. 


267. PORTRAIT OF RAPHAEL AT THE AGE OF 15. : Line 
engraving after Raphael. Apell 36. Second state. Proof 
before letters on India paper, with the engraver’s mono- 
gram stamp: Very fine. 


268. ANOTHER IMPRESSION of the same state. On plain plate 
paper. 

269. ANOTHER IMPRESSION of the same state. On plain plate 
paper. 

270. ANOTHER IMPRESSION of the same state. On plain plate 
paper. | 


271. ANOTHER IMPRESSION of the same state. On plain plate 
paper. 


MANNFELD, B. 


272. TOMB OF FREDERICK THE GREAT, under the chancel 
of the Gafrnisonskirche at Potsdam. Etching. Signed 
remarque proof on India paper. 


273. THE PARK OF THE PALACE OF PRINCE ALBRECHT 
(BERLIN). After Adolph Menzel. Etching. Remarque ~ 
proof on Japanese paper. 

WINDSOR CASTLE. Etching by Brunet-Debaines after K. 
Heffner. Artists’ proof on Japanese paper. Signed by 
both artists. (2.) 


MANTEGNA, ANDREA 


274. THE FLAGELLATION. B. 1. On paper with the water 
mark “little jug.” At the bottom, upper left side, and 
top some of the white paper has been torn off and re- 
placed by other pieces. Also a few tears carefully re- 
paired. A printer’s crease through the lower half. 


MARRIOTT, F. 


275. OLD BRUGES AT NIGHT. Painter-mezzotint printed in 
colors. Signed art proof on Whatman paper. Limited to 
100 proofs. Framed. 


MASTER B. OF THE DIE 


276. FRIEZE WITH BACCHANALIAN BOY MOUNTED ON 
A GOAT, after Raphael. B. 36. 
FRIEZE WITH THE TRIUMPHAL PROCESSION OF 
CUPID, also after Raphael. B. 37. (2.) 


MAURIN 


277. EMPRESS JOSEPHINE, after Gerard. Lithograph. 


McARDELL, JAMES 


278. 


REMBRANDT’S MOTHER READING. Mezzotint after 
Rembrandt. Smith 150. ° 


McGHIE, JOHN 


279. 


280. 


287. 


288. 


289. 


290. 


Zo. 


zo2. 


293. 


FRESH FROM THE SEA. Painter-etching. Signed ar- 
tist’s proof on Whatman paper. Limited to 40 impres- 
sions. Plate destroyed. 


ANOTHER PROOF of the same. 


. ANOTHER PROOF of the same. 
. ANOTHER PROOF of the same. 
. ANOTHER PROOF of the same. 
. ANOTHER PROOF of the same. 


. ANOTHER PROOF of the same. Framed. 


A 'TOILER. Painter-etching. Signed artist’s proof on 
Whatman paper. Framed. 


WAITING FOR THE BOATS. Painter-etching. Signed 
artist’s proof on Whatman paper. Limited to 40 im- 
pressions. Plate destroyed. 

ANOTHER PROOF of the same. 

ANOTHER PROOF of the same. 

ANOTHER PROOF of the same. 

ANOTHER PROOF of the same. 

ANOTHER PROOF of the same. 


ANOTHER PROOF of the same. Framed. 


McLAUGHLIN, DONALD SHAW | 


294. THE HOUSE OF CERES. Painter-etching. Signed artist’s- 


proof on Dutch paper. Framed. 


295. VENETIAN NOON-TIDE.  Painter-etching. Signed ar- 
tist’s proof. Limited to 50 impressions. 


MELLAN, CLAUDE 
296. THE SUDARIUM. The artist’s most celebrated plate, done 


in one spiral line, beginning at the tip of the nose. With ~ 


large margins. From the collection of the Museum at 
Groningen. 


MERYON, CHARLES 


297. LA POMPE DE NOTRE-DAME, PARIS. Painter-etching. 
Delteil 31. Seventh state. The title and “Rue St. 
Etienne-du-Mont. Publié par Il Artiste,’ suppressed. 
Fine impression on Dutch paper. 


MEYER, HENRY 
298. PORTRAIT OF AN OFFICER OF THE HUSSARS. Mez- 


zotint after Sir Thomas Lawrence. Proof before letters. 
Framed. 


MIGNON, ABEL 


299. 1814. NAPOLEON ON HIS WHITE CHARGER MAR- 
ENGO. Etching after J. L. E. Meissonier. Signed re- 


marque proof on vellum. Framed. 


MILITARY PORTRAITS (GERMAN) AND BATTLE 
SCENES OF THE FRANCO-GERMAN WAR 1870-71. 


300. LEOPOLD VON DESSAU, ZIETEN AND GENL. 
WERDER. Lithographs by A. Bournye and Siissnapp 
after W. Camphausen. (3.) 


. es “ 


MILITARY PORTRAITS. (Continued) 


301. 


302. 
303. 
304. 
305. 
306. 


307. 


308. 


309. 


310. 


311. 


312. 


WILLIAM I, EMPEROR OF GERMANY. Full-length, 
standing. Lithographed by G. Feckert after F. Winter- 
halter. 


ANOTHER IMPRESSION of the same. 
ANOTHER IMPRESSION of the same. 
ANOTHER IMPRESSION of the same. 
ANOTHER IMPRESSION of the same. 


ANOTHER IMPRESSION of the same. 


¢ 


FREDERICK II, EMPEROR OF GERMANY. Etching 
from life by W. Hecht on India paper. 


ANOTHER IMPRESSION of the same. 


FREDERICK III, WHEN CROWN PRINCE. Etching by 
W. Hecht after a painting by F. v. Lenbach. On In- 
dia paper. ; 


FREDERICK IT, WHEN CROWN PRINCE. Line engrav- 
ing from life by Carl Becker. Artist’s proof on India 
paper with the publisher’s dry stamp. 


KING WILLIAM I, OF PRUSSIA; CROWN PRINCE 
FREDERICK WILLIAM OF PRUSSIA; PRINCE 
FREDERICK CHARLES OF PRUSSIA. Lithographs 
from life by S. Milster and Th. Hellwig. (3.) 


CROWN PRINCE FREDERICK WILLIAM OF PRUSSIA. 
Line engraving by H. Meyer under the direction of E. 
Mandel. 

PRINCE FREDERICK CHARLES OF PRUSSIA awnp 
v. ROON, Minister of War of Prussia. Both engraved 
by A. Teichel. India paper prints. (3.) 


MILITARY PORTRAITS. (Continued) 


313. 


314. 


315. 


316. 


LE BOURGET, after A. M. de Neuville. Photogravure 
Goupil. i 
UBERGABE DES SCHOSSES GAISBERG. Color print. 


KONIG WILHELM NACH DER SCHLACHT BEI 
SEDAN. Photogravure after Iank. (3.) 


DAS 4rT—e GARDE REGIMENT ZU FUSS BEI ST. PRI- 
VAT. After Roessler. 

DIE 70er BEI ST. QUENTIN IM STURM AUF DIE 
WINDMUHLE. After Réchling. , 

DIE ABFAHRT NAPOLEON III. IN DIE GEFANGEN- 
SCHAFT. After Roessler. 
Photogravures on India paper. (3.) 


DAS GARDESCHUTZEN-BATAILLON 1. v. SCHACHT 
BEI ST. PRIVAT. Photogravure after H. Liders. 
HORNISTEN UEBUNG. Autotype after C. Rochling. 


THE BATTLES AT WEISSENBURG, MARS LA TOUR 
AND GRAVELOTTE. Lithographs by F. Kaiser. 

THE CAPTURE OF NAPOLEON AT SEDAN.  Litho- 
graph by Fr. Hartwich. (4.) 


MILLER, JOHN D. 


317. 


318. 


319. 


320. 


321. 


322. 


INVOCATION. Mezzotint after Sir Frederick Leighton. 
Signed artist’s proof on India paper. 


ANOTHER IMPRESSION of the same. Lettered proof on 
India paper. 


SYLVIA. Mezzotint after Frank Dicksee. Signed artist’s 
proof on India paper. 


ANOTHER PROOF of the same. 
ANOTHER PROOF of the same. 


ANOTHER LETTERED PROOF of the same. 


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ees ; : s ) ais::; é vey : icy 
FPP«UNCE, CREUAMLET Tes ores Ou Roy Gouaern Fey wit de Srangatr de Oonne due de Lerdiuyueres: 
i, Aeuchier des ordresdu Roy Y ‘i jt de Frangatr de C8. duc de Lex dus 
if J te & ene . * > Ce ¢ 
ul heutcnant, general pour va Mla Ken Dauphine, cal pur et. ( onestable Je France 


NANTEUIL, ROBERT 
Francois de Bonne 
(See No. 326) 


MOREAU tLe seunet, J. M. 


323. MONUMENT DU COSTUME PHYSIQUE ET MORAL 
DE LA FIN DU XVIIIe SIECLE. Line engravings by 


Cheffar, Desmont, Gervais, Guénier I. Massard, Monnin, 
E. Rannes, Sage, Ch. Fr. Thierry and P. Vélard. Printed 
in red with index and text. Numbered copy—No. 226. 


MULLER, JOHNANN GOTTHARD von 
324. LOUIS XVI, after Duplessis. Andresen 6. Fifth state 


with Ramboz’s name. 


NANTEUIL, ROBERT 


325. HONORE COURTIN, Conseiller d’Etat. Engraved from life, 
1668. R. D. 80. First state, before the inscription on 
the oval border. Very fine impression, with 23 to 32 mm. 
margin. From the F. Kalle and R. Pelzer collections. 


826. FRANCOIS DE BONNE, MARECHAL DE CREQUI. En- 


in graved from life, 1659. R. D. 81. Second state; the date 
Wired has been changed to 1662. Fine impression with 10 to 
18 mm. margin. From the R. Pelzer collection. 
[See Reproduction. | 


327. THE BROTHERS PIERRE AND JACQUES DUPUY. 
R. D. 89. First state; before the plate was cut in two. 
Fine impression with about 7 mm. margin. 


328. MARIN CUREAU DE LA CHAMBRE. Physician to the 
King. Engraved from life. R. D. 116. ‘Third state, 
with a figure similar to a capital *“T”’ in the centre of the 
lower margin. Very fine impression, with margin. From 
the R. Pelzer collection. 


329. MICHEL LE TELLIER, Ministre d’Etat. Engraved from 
life, 1659. R. D. 181. Only one state. Fine impression 


with small margin. 


NANTEUIL, ROBERT. (Continued) 


330. LOUIS XIV, KING OF FRANCE. Engraved from life in 
1662. R. D. 158. Fourth state. The date has been 
changed to 1663. Very rare. Fine impression, with very 
small margin. 


331. EDOUARD MOLE, Président a Mortier au Parlement de 
Paris. Engraved from life. R. D. 198. First state, be- 
fore the framework was marbled. Fine impression, with 

-small margin. 


332. PIERRE SEGUIER, Chancelier de France. After Charles 

Le Brun. 1657. R. D. 228. First state, before the 

”\ z “crochet” after the date. Very fine impression, with 17-28 
mm. margin. From the R. Pelzer collection. 


333. FRANCOIS SERVIEN, Evéque de Bayeux. After Phil. de 


Champagne. R. D. 225. First state, before the inscrip- 
tion on the base. Very fine impression with a small margin. 


AT THE AMERICAN ART GALLERIES 


Madison Square South, New York 


UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, 
LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, 
ADMINISTRATRIX 


Third Session, Numbers 334 to 502, inclusive 


THURSDAY EVENING, FEBRUARY 25th, at 8:30 O’CLOCK 


NEAVE, DAVID 
334. GREENGROCER. Painter-etching. Signed artist’s proof 


on thin Japanese paper. Framed. 


335. THE RIVERSIDE, TOPSHAM. Painter-etching. Signed 
artist’s proof on thin Japanese paper. Framed. 


OLD VIEWS OF GERMAN TOWNS 


336. JACOBSPLATZ, GOTHA. Engraved by Drdsse. 
PALACE OF THE DUCHESS DOWAGER OF GOTHA. 
Engraved by Weibezahl. Both colored. Framed.  (2.) 


337. GENERAL VIEW OF CARLSBAD. Etching by Postl; col- 
ored. Framed. 


338. THE OLD MARKET (TUCHGADEN), FRANKFURT 
a|M. 1866. Etching by J. Ejissenhardt, after Anton 
Birger. 


339. DER ROMERBERG, 1754; DER LIEBFRAUENBERG, 
1755; DER ALTE MARKT, 1865. Views of Frank- 
furt a|M. in the olden times. Two etchings after Schiitz 
and one after A. Birger by J. Eissenhardt. All framed. 


(3.) 


OSBORNE, MALCOLM 
340. NORTON BRAVANT, WILLSHIRE.  Painter-etching. 


signed artist’s proof on Whatman paper. Framed. | 


PHILIPPEAUX 
3841, BACCHANTE CROWNED BY CUPID. Stipple engraving 


printed in colors. Framed. 


PHOTOGRAPH 
342. HEAD OF A GIRL. Framed. 


PHOTOGRAVURES 


343. CHARLEMAGNE RECEIVING THE ENVOYS OF HA- 
RUN-AL-RASCHID; BARBAROSSA CONQUERING 
LOMBARDY. Both after A. Iank. (2.) 


344. STUDENT’S LIFE. Die Sekundanten. Warum halt? 
Nun leb wohl. Alte Burschenherrlichkeit. After G. 
Miihlberg. Colored. (4.) 


345. DIE DORFSCHONEN. After Prdlss. 
UNGEKELTERT. After E. Griitzner. 


MUNCHNER KINDL. After L. v. Suchodolska. 
NACH DER MAHLZEIT. After Ch. Meyer. (4) 


PLATT, CHARLES A. 
346. MUDBOATS ON THE THAMES. Painter-etching. Signed 


artist’s proof on Creswick paper. Framed. 


347. WILLOWS: CAPE ANN. Proof on Japanese paper. 


PONCE, NICOLAS 


348. LE VERRE D’EAU. Line engraving after Honoré Fragonard. 
Portalis & Beraldi 7. 


PRESTEL, MARIA CATHARINA 


349. 


NATIVITY. After a drawing by A. Diirer. (Albertina. ) 
Nagler XII. p. 52, No. 19. Chiaroscuro done in etching 
and aquatint manner. The artist etched it from an old 
drawing in the Cabinet Praun, not knowing that it was 


a copy. 


RAEBURN, H. MACBETH 


350. 


351. 


352. 


— 858. 


RAU 


354. 


355. 


CANN ON STREET BRIDGE, SUDBURY. Painter-etching. 


Signed artist’s proof on Japanese paper. Framed. 


ETON COLLEGE. Painter-etching. Signed artist’s proof 
on thin Whatman paper. Framed. 


MISS FRANCES KEMBLE. After Sir Joshua Reynolds. 
Mezzotint printed in colors. Signed proof on Dutch 


paper. 


“OVER THE HILLS AND FAR AWAY.”  Painter-etching. 
Signed artist’s proof on Japanese paper; limited to 75 
impressions. 


MINIATURE PORTRAIT ON IVORY. Head and shoulders 
of a gentleman in a blue coat, facing the right. Height, 
314 inches; width, 244 inches. (Imperfect.) 


MINIATURE PORTRAIT ON IVORY. Head and shoulders 
of dark-haired young woman facing the left. In leather 
case. Height, 314 inches; width, 214 inches. 


RAVENNA, MARCO DENTE be 


356. 


THE DANCE OF CUPIDS. Copy after Raimondi. B. 217a. 
From the Brodhurst collection. 


REED, EARL H. 


3857. A CITY’S HIGHWAY. Painter-etching. Signed artist’s 


proof on Japanese paper. 


REMBRANDT VAN RYN 


358. REMBRANDT WITH A CAP AND AIGRETTE. In an 
oval. B. 23. Third state, before the modern retouch. 
Fine impression. From the Count Moritz von Fries and 
P. von Baldinger collections. 


359. ABRAHAM ENTERTAINING THE ANGELS. B. 29. 
Fine early impression, with burr and 8mm. margin all 
around. From the F. Gawet and J. Novak collections. 


[See Reproduction. | 
360. ABRAHAM CARESSING ISAAC. B. 33. 


361. ANOTHER IMPRESSION of the same. With 5 mm. margin. 
From the “W. P. L.” collection. 


362. ANOTHER IMPRESSION of the same. Framed. 
363. JOSEPH TELLING HIS DREAMS. B. 37. Third state. 


364. JOSEPH AND POTIPHAR’S WIFE. B. 39. Intermediate 
state between the third and fourth. From the “F. B.” 
and R. Hoe collections. : 


365. THE TRIUMPH OF MORDECAI. B. 40. Fine impression 


with some burr. 


366. THE ANGEL LEAVING TOBIT’S FAMILY. B. 43. Sec- 


ond state according to Hind. 
367. THE ANNUNCIATION TO THE SHEPHERDS. B. 44. 


368. ANOTHER IMPRESSION of the same. 


BE a tee 


ey 
re 
3 
Ee 
te 
2 
* 
2 
ie 
* 
* 
> 


ey 


y 


SSN 


air 
8 . 


4 


Lae 
Zita 


FP Suis wl 
2 aitits, © 


—— 


3 


LE a 


an ed 

Khiy 
SEA IRELSA 

SMe GOS * Jy 


LE Peay Oks f: bps Sg 
tol Me 5 IAS J 
‘Md: GLE ti ie Gee 


REMBRANDT 
Abraham entertaining the Angels 
(See No. 359) 


REMBRANDT VAN RYN. (Continued) 


369. 


370. 


371. 


372. 


3738. 


374. 


376. 


THE CIRCUMCISION. B. 47. Second state. From the 
Peoli and R. Hoe collections. 


THE PRESENTATION IN THE VAULTED TEMPLE. 
B. 49. Second state. On paper with the watermark Wi- 
biral No. 8g. (Fleur-de-lis, below it a shield with three 
bars on an incline and below this the monogram “W. R.” 
with a “4.”) From the “B. Z.” and Peoli collections. 


CHRIST PREACHING, called the ‘Little La Tombe.” B. 67. 
Fine impression, with a little burr, on paper with the water- 
mark “Coat of arms of Amsterdam” with the initials 
“P. M.” below it. The paper is in perfect condition and 
it has a margin of 15 mm. all around. 


CHRIST CHASING THE MONEYCHANGERS FROM 
THE TEMPLE. B. 69. First state; fine impression on 
paper with the watermark Wibiral 8g. Fleur-de-lis, be- 
low it a shield with three oblique crossbars and below 
it monogram W. R. & 4. No margin; trimmed closely 
to the border line. From the J. A. Boerner, W. E. Drugu- 
lin, Dr. A. Striater and P. v. Baldinger collections. 


ANOTHER IMPRESSION of the same. Second state; no 
margin. The top border line is partly missing. From the 
Fr. Schindler ‘collection. 


THE ECCE HOMO. B. 77. Fourth state. The face of the 
bald man above the Jew who holds the cane has been shaded 
with an additional set of oblique lines; but before Mal- 
boure’s address. Fine impression. Was folded like most 
of them and carefully pressed out so that the folds are 
not noticeable. 


. CHRIST ON THE CROSS. B. 80. Second state. From the 


R. Hoe collection. 


DESCENT FROM THE CROSS. The large plate. B. 81. 
Fourth or fifth state, which cannot be ascertained as the 
address in the lower margin has been erased. 


eo” 


REMBRANDT VAN RYN. (Continued) 


377. 


378. 


379. 


380. 


3881. 


382. 


383. 


384. 


385. 


THE MARTYRDOM OF ST. STEPHEN. B. 97. First 


state. Fine but without any margin. 


DEATH OF THE VIRGIN. B. 99. Second state. Fine 


impression with slight repairs on the corners. 


STROLLING MUSICIANS. B.119. First state. Fine im- 
pression without margin. From the collection of Fritz 


Rumpf. 


PEASANT FAMILY ON THE TRAMP. B. 181. First 
state. Before the retouch. Very fine impression with a 
margin ranging from 138 to 15 mm. From the Cambridge 
University and M. J. Perry collections. 


AN OLD MAN WITH A SHORT BEARD LEANING 
AGAINST A BANK. B. 151. Third state. From the 


Robert-Dumesnil and S. Scheikevitch collections. 


TWO BEGGARS; A MAN AND A WOMAN CONVERS- 
ING. B. 164. Second state; the plate edges are 
trimmed and the plate is cleaned. From the “v. E.,” I. F. 
Linck and Count Lanna collections. 


NUDE WOMAN WITH HER FEET IN THE WATER. 
B. 200. From the R. Hoe collection. 


DIANA BATHING. B. 201. First state. Very fine im- 
pression on paper with the Double Eagle, two Dolphins 
and the initials “I. V.” (coat-of-arms of the duchy of 
Bar, according to Briquet Nos. 2092 and 2093). Trimmed 
very closely to the platemark and in the left edge two 
small pieces inserted. From the Hawkins, Earl of Ayles- 
ford and Duke of Buccleugh collections. 


THE LANDSCAPE WITH A MAN SKETCHING.  B. 
219. Very good impression on paper with the watermark 
Wibiral 7b. (Crowned shield with fleur-de-lis and the 
initials L.C.) So closely trimmed that the platemark has 
been lost almost completely; with two slight printer’s 
creases. From the J. McGowan (collector’s mark erased) 
and J. Rice collections. 


REMBRANDT VAN RYN. (Continued) 


386. 


388. 


389. 


390. 


391. 


392. 


393. 


PORTRAIT OF JAN ANTONIDES VAN DER LINDEN, 
PROFESSOR OF MEDICINE AT THE UNIVERSITY 
OF LEYDEN. B. 264. Sixth state; very fine impres- 
sion on a thick Dutch paper. Closely trimmed, showing 
only 2 mm. of the lower margin and no platemark. From 
the collection of Fritz Rumpf. 


. ANOTHER IMPRESSION of the same. Seventh state, show- 


ing the platemark all around. From the collection of “Dr. 
ABR 


SAMUEL MANASSEH BEN ISRAEL JEWISH AUTHOR. 
B. 269. Second state. Fine impression, with 4 mm. mar- 
gin. From the “E. 8.” and Marsden J. Perry collections. 


CORNELIS CLAESZ ANSLO, MENNONITE PREACHER. 
B. 271. Fourth state. The lower part of the plate has 
been burnished out so that the etched surface is again the 
same size as in the first state, but before the address of 
Scheepshanks. Fine impression on India paper. From 
the K. E. von Liphart and Emil Schroeter collections. 


ABRAHAM FRANCEN, ART DEALER. B. 278. Eighth 
state. Very good impression with 2 mm. margin. From 
the S. Scheikevitch collection. 


JAN LUTMA, CELEBRATED GOLDSMITH. B. 276. 
Third state. From the collections Naudet and “Fagan 
Sits 


JAN UYTENBOGAERT, RECEIVER-GENERAL (THE 
GOLDWEIGHER). B. 281. Third state, on Japanese 
paper, with a margin of about 14 mm. all around. Very 
fine. 


BUST OF AN OLD MAN WITH A LARGE BEARD. B. 
290. The only state. An impression with an aquatint 
effect, the result of artificial wiping. From the R. Pelzer 
collection. 


oO 


ee 


REMBRANDT VAN RYN. (Continued) 
394. HEAD OF A MAN IN A FUR CAP CRYING OUT. B. 


395. 


396. 


398. 


399. 


327. Third state. Strong impression with about 3 mm. 
margin. From the R. Pelzer collection. 


REMBRANDT’S MOTHER IN WIDOW’S DRESS AND 
BLACK GLOVES. B. 344. First state. Very fine im- 
pression on paper with the watermark “Folly.” Slightly 
foxed and a small tear in the left edge repaired. 


ANOTHER IMPRESSION of the same. Second state. In 
perfect order and with a small margin. From the E. De- 
vaulx collection. 


. LIEVEN WILLEMSZ VAN COPPENOL, WRITING MAS- 


TER. The larger plate. Basan’s copy of the first state, 
with the white background. Du. Vol. V, p. 485. 


JACOB LAMENTING THE SUPPOSED DEATH OF 
JOSEPH. B. 38. Anonymous and most deceiving copy. 
Du., Vol. V, p. 383. 

THE GOLDWEIGHER. B. 281. Copy by Captain Baillie. 

(2.) 


ANOTHER IMPRESSION of the copy of B. 38. 

THE ANNUNCIATION TO THE SHEPHERDS. B. 44. 
Photogravure. 

BEGGARS RECEIVING ALMS AT THE DOOR OF 
A HOUSE. B. 176. Copy in the original sense. Not 
mentioned by Dutuit. (3.) 


REMBRANDT AND HIS SCHOOL 


400. 


SCRAPBOOK. Bound in pigskin and containing 102 etchings 
mostly by followers and imitators of Rembrandt. Among 
them are eight of Rembrandt’s original work, but late 
impressions, and 82 original etchings by Nothnagel. 


ROESSLER, C. | 
401. A SWISS MOUNTAINEER. (Panel.) Head and shoulders 


portrait of a middle-aged man. Wears a green feathered 
hat, and partly faces the right with a half-smiling face. 
Signed C. Roessler. Height, 9 inches; width, 7 inches. 


402. A SWISS MOUNTAINEER. (Panel.) A companion to 
the preceding. Only the man being of younger years, and 
is facing the left. Signed C. Roessler. Height, 9 inches; 
width, 7 inches. 


ROWBOTHAM, CLAUDE H. 


403. ROTHERHITHE. Painter-etching printed in colors. Signed 
artist’s proof on Whatman paper. Limited to 200 im- 
pressions; plate destroyed. 


404. ANOTHER PROOF of the same. Framed. 


RUOTH, Ey C- 


405. CUPID BINDING AGLAIA. Stipple engraving after A. 


Kauffmann. Printed in brown. Framed. 


RUSHBURY, HENRY 


406. COTSWOLD MILL. Painter-etching. Signed artist’s proof 
on thin Whatman paper. Framed. 


407. ESSEX GATE, STRAND, LONDON.  Painter-etching. 
Signed artist’s proof on Whatman paper. Framed. 


SCHILLING, ALEXANDER 


408. DORTRECHT FROM PAPPENDRECHT.  Painter-etch- 


ing. Signed artist’s proof on Japanese paper. Framed. 


a ee CO. 


SCHMIDT, GEORG FRIEDRICH 


409. HEAD OF A BOY. After a drawing by Boucher. Jacoby 122. 


Engraved in crayon manner and printed in red. Rare. 


SCHMUTZER, FERD. 


410. ST. AUGUSTUS BRIDGE, DRESDEN.  Painter-etching. 
Signed artist’s proof on Dutch paper. 
FEEDING THE DUCKS. Painter-etching. Signed artist’s 
proof on Whatman paper. 
HANSEL UND GRETEL. Painter-etching. Proof on Jap- 
anese paper. (3.) 


411. DUTCH FISHERMAN; DUTCH HOUSEWIFE. Painter- 


etching. Signed artist’s proofs on Dutch paper. Both 
framed. (2.) 


SCHOENGAUER, MARTIN 


412. THE FLAGELLATION. B.12. Very good impression, but 
without margin. Slightly foxed. From the H. S. Theo- 
bald collection. 


SCHROTER, W. 


413. RAUHMUNZACH, BLACK FOREST, and two other etch- 
ings by the same artist. (3.) 


SCHULTZE, C. G. 


414. VENUS LIANT LES AILES DE L’?AMOUR. Line engrav- 
ing after Mme. Vigée-Lebrun. Portalis & Beraldi. Vol. 
Ill, pp. 581-33. 


SEDCOLE, HERBERT 


415. MISS LINLEY. Mezzotint printed in colors. Signed proof 
on India paper. 


SHEPHEARD, G. | 
416. RETURN FROM MARKET. Stipple after Hy. Bunbury 


printed in colors. Framed. 


SIMON, J. P. 
417. L;AMITIE. After LeRoy. Stipple printed in colors. 


SIMON, T. F. : 
418. MI-CAREME: PARIS. Painter-etching and aquatint printed 


in colors. Signed and stamped artist’s proof on Dutch 


paper. Framed. 


419. PALAZZO DI DESDEMONA, VENICE. Painter-etching 
and aquatint printed in colors. Signed and stamped ar- 
tist’s proof on Dutch paper. Framed. 


420. ST. MARTIN’S ARCH, AMSTERDAM.  Painter-etching 
and aquatint printed in colors. Signed and stamped ar- 
tist’s proof on Dutch paper. Framed. 


SMITH, D. MURRAY 


421. HAMMERSMITH. Painter-etching. Signed artist’s proof 
on heavy Japanese paper. 


SMITH, JOHN RAPHAEL 


422. MISS HARRIET MONTAGUE. Mezzotint after his own 
painting. Smith 118. State not mentioned by Smith. 
The publisher’s line reads: “Pubd. 24 June 1777 by W. 
Humphrey No. 70 St. Martins Lane.” Very fine im- 


pression. 


423. HENRY WOODWARD (Actor) in “Petruchio.” Mezzotint 
after B. Vander Gucht. Smith 1777. First state; 
scratched letter proof. Fine impression, with 10 mm. 
margin. 


| 
: 
i 
: 
: 


SMYTHE, RICHARD 


424. LADY INCHIGUIN. After Sir Thos. Lawrence. Mezzo- 
tint printed in colors. Signed proof on India paper. 
Limited to 350 impressions. 


SPARKS, NATHANIEL 


425. CLOCK TOWER, ST. PAUL’S. Painter-etching. Signed 
artist’s proof on thin Japanese paper. Limited to 75 
impressions. 


426. ANOTHER PROOF of the same. Framed. 


427. MANSION HOUSE, LONDON. Painter-etching. Signed 


artist’s proof on thin Japanese paper. 


428. NATIONAL GALLERY. Painter-etching. Signed artist’s 
proof on thin Japanese paper. Limited to 75 impressions. 


429. ST. BOTOLPH’S, BISHOPSGATE. Painter-etching. Signed 


artist’s proof on thin Japanese paper. Framed. 


STODART, JACKSON 
430. THE COUNTESS GOWER AND HER DAUGHTER. 


After Sir Thos. Lawrence. Mezzotint printed in colors. 
Signed proof on India paper. 


431. IN THE MALL, ST. JAMES PARK. Stipple engraving 
printed in colors. Signed proof on Whatman paper. 
Framed. 


432. PINKIE. After Sir Thomas Lawrence. Mezzotint printed 
in colors. Signed proof on India paper. 


433. PORTRAIT OF A LADY. After Downman. Stipple printed 


in colors. Signed artist’s proof. Campanion to No. 434. 
Framed. 


434, PORTRAIT OF A YOUNG GIRL. After Downman. Stip- 
ple printed in colors. Signed artist’s proof. Companion 


to No. 483. Framed. 


STONE, H. MULREADY 


435. “THE RUINED ARCH,” PONT AVON.  Painter-etching. 
Signed artist’s proof on Dutch paper. 


STRANG, JAN 


436. PALAZZIA SEGOVIA.  Painter-etching. Signed artist’s 
proof on thin Japanese paper. Limited to 50 impres- 
-esions. 


437. ANOTHER PROOF of the same. 


STRANG, WILLIAM 


438. TINKERS. Binyon 9.  Painter-etching. Signed artist’s 
proof on old Dutch paper. 


439. THE PRODIGAL SON. B. 10. Painter-etching. Signed 
artist’s proof on old Dutch paper. 


440. ILLUSTRATIONS TO BUNYAN’S “PILGRIM’S PROG- 
RESS.” Fifteen painter-etchings. Title Page. Not men- 
tioned by Binyon.—Title Page. B. 80—Bunyan’s por- 
trait. B. 81.—The butcher and the sheep. B. .82.— 
Christian and the Damned. B. 83.—Vanity Fair. B. 84. 
—Mercy. B. 85.—Marriage of Matthew and Mercy. 
B. 86.—In the Dungeon. B. 87.—The Man with the 
Muck Rake. 3B. 88.—Christian at the Cross. B. 89.— 
Mercy at the Gate. B. 90.—The Slough of Despond. 
B. 91.—Christian’s Repentance. B. 92.—Christian Fight- 
ing Apollyon. B. 98. All signed artist’s proofs on old 
Dutch paper. A very fine and extremely rare set. 

(152) 


441. DESPAIR. B. 128. Painter-etching. Signed artist’s proof 
on old Dutch paper. Limited to 45 impressions. Presen- 
tation proof to Mr. F. Goulding. 


442, THE CAUSE OF THE POOR. B. 151.  Painter-etching. 
Signed artist’s proof on Whatman paper. Limited to 60 
impressions. From the collection of F. Goulding. 


STRANG, WILLIAM. (Continued) 


443. AN UPLAND FARM. B. 162. Painter-etching. Signed 
artist’s proof on Dutch paper. Limited to 85 impres- 
sions. 


444, EVENING. B. 171. Original mezzotint. Signed artist’s 
proof on heavy etching paper, printed by F. Goulding. 


445. ON THE ROAD. B. 284. Painter-etching. Signed artist’s 
proof on greenish Dutch paper. Limited to 45 proofs. 


446. CASA DEL GRECO, TOLEDO. Painter-etching. Signed 
artist’s proof on Whatman paper. Limited to 60 proofs. 


447, ANOTHER PROOF of the same. Framed. 


448. PORTRAIT OF ROBERT LOUIS STEVENSON. Painter- 
etching. Signed artist’s proof on Whatman paper. 


SUYDERHOEF, JONAS 


449. CONSTANTIN, L°EMPEREUR. Professor of Theology. 
Line engraving after Baudrigeen. Du. 24. First state, 
etore the words ““Lhysvs .-. .” directly under “lac. 
Lanoyck Excudebat.” 


450. ADRIAN HEEREBOORD. Philosopher. Line engraving 
after P. Dubordieu. Du. 32. Second state with margin. 


451. RUDOLPH HEGGER. Protestant preacher. Line engrav- 
ing after J. de Vos. Du. 33. Third state, with Allard’s 


name instead of C. Banheyningh. Small margin. 


THEVENIN, J. CH. 


452. ALFONSO D’AVALOS, MARQUIS DEL GUASTO (GEN- 
ERAL OF CHARLES V.) AND HIS MISTRESS. Line 
engraving after Titian. Apell 5. First state; proof be- 
fore all letters on India paper. 


'TIEPOLO, GIOVANNI BATTISTA 
458. YOUNG MAN SEATED, LEANING ON AN URN. DeV. 


3. Very delicate impression. 


TISSOT, J. J. 


454. HIS FIRST PAIR OF BREECHES. Painter-etching. 
Signed artist’s proof on old Dutch paper. 


TOWNLEY, CHARLES 


455. MRS. JENNY DEERING. Mezzotint after Sir Peter Lely. 
Smith 6. 


TRAVER, MARION GRAY 


456. WOODLAND LAKE; ROCKS ON TOP OF A HILL. Mono- 
types in colors. Signed by the artist. (2.) 


457. A SWAMP; EDGE OF A POND. Monotypes in colors. 
Signed by the artist. (2.) 


458. PATH THROUGH THE WOODS; POPLARS. Monotypes 
in colors. Signed by the artist. Both framed. (2.) 


UNKNOWN ENGRAVER 
459. BIRTH OF THE PEARLE. Line engraving printed in col- 


ors. 


VAN DE PASSE, CRISPIN 


460. VIRGIN AND CHILD. After Rottenhamer. Franken 109. 
From the collection of Prince Waldeburg Wolfegg. 


VAN DYCK, ANTONIE 


461. JODOCUS MOMPER (LANDSCAPE PAINTER). Painter- 
etching. Du. 7. Fifth state. The plate has been cleaned 
and the “G. H.” burnished out. Large margin. 


VAN LEYDEN, LUCAS 


462. THE CONVERSION OF SAULUS. Du. 107. Anonymous 
copy. 


VAN OSTADE, ADRIAAN 
ae: A MOTHER WITH TWO CHILDREN. B. 14. Third 


state. Very fine impression with a margin ranging from 
25 to 835 mm. From the H. Weber and Alferoff collec- 
tions. 


464. A MAN AND A WOMAN WALKING WHILE CONVERS- 
ING. B. 24. First state. Very fine impression of this 
rare state. From the Prinz Soutzo and P. Gelatly col- 
lections. 


465. THE SMOKER AT A WINDOW. B. 10. 
THE SCHOOLMASTER. B. 17. 
THE DANCE AT THE INN. B. 49. (3.) 


VAN OSTADE, SCHOOL OF 


466. THE JOVIAL PARTY. A number of heavy-featured peas- 
ants seated about a table are refreshing themselves before 
a village inn. On the left in the distance looking down 
the road are a number of peasants in couples, evidently 
coming to the party. In the shadowed foreground a man 
is stretched out on the grass sleeping. 


VISSCHER, CORNELIS 


467. JOHANN WOLFGANG VON BREDERODE. Line engray- 
ing evidently after Honthorst. Du. 90. Fine impression, 
with margin. 


468. ROBERT JUNIUS. Protestant preacher in India, For- 
mosa and Amsterdam. Line engraving from life. Du. 
99. Eighth state, with the address I. Robyn. From the 
collection of H. Fiissh & Co. 


VISSCHER, CORNELIS. (Continued) 


469. ANOTHER PORTRAIT OF THE SAME. After Palamedes. 
Du. 100. Second state; with the address of P. Goos. 
Fine impression, with 10-24 mm. margin. From W. 
Drugulin’s collection. 


470. PETER SCHREYVER. Line engraving after P. Soutman. 
Du. 116. Third state; before the scratch across the 
beard. Fine impression, with small margin. 


VORSTERMAN, LUCAS 


471. TRIC-TRAC PLAYERS. After A. de Coster. Andresen 26. 


First state, with the artists’ names only. 


WALKER, WILLIAM 
472. MIDDLEBURG. Painter-etching. Signed proof on What- 


man paper. Limited to 60 impressions. 


473. ST. BARTHOLOMEW.  Painter-etching. Signed artist’s 
proof on Whatman paper. Framed. 


474. ST. PAUL’S, LONDON. Painter-etching. Signed artist’s 
proof on Whatman paper. Framed. 


WALTNER, CHARLES 


475. MASTER LAMBDEN. Etching after Sir Thos. Lawrence. 


First state; Remarque proof on vellum. Signed by the 
etcher. Framed. 


476. A RABBI. Etching after Rembrandt. Signed proof on vel- 


lum. 


,. 
ATSON, JAMES 


477. MISS JULIA BOSVILLE. Mezzotint after Joshua Reynolds. 
Smith 11. Second state; scratched letter proof. Very 
fine impression in splendid condition. 


478. JAMES PAINE, ARCHITECT, AND JAMES PAINE, JR. 
Mezzotint after Josh. Reynolds. Smith 111. Second 
state. 


479. THE DISHABILLE. Mezzotint after Metsu. Framed. 
Very fine. 


WATSON, THOMAS 
480. FRIAR PHILLIP’S GEESE. Stipple after Hy. Bunbury 


printed in colors. Proof before the title and the verses. 
Circular. Framed. 


WEBSTER, HERMAN 


481. GOLDENE SONNE, STRASSBURG.  Painter-etching. 
Signed proof on Whatman paper. 


482. ANOTHER PROOF of the same. 
483. ANOTHER PROOF of the same. Framed. 


484. SPITALPLATZ, STRASSBURG. Painter-etching. Signed 


proof on Whatman paper. 
485. ANOTHER PROOF of the same. 
486. ANOTHER PROOF of the same. Framed. 


487. WEISSADLERGASSE, FRANKFURT a|M. Painter-etch- 
ing. Signed proof on thin Dutch paper. 


488. ANOTHER PROOF of the same. 


489. ANOTHER PROOF of the same. Framed. 


WHEATLEY, FRANCIS, R.A, ATTRIBUTED TO 


490. THE EDUCATION OF CUPID. Largely sepia watercolor, 
touched up with blue, green and rose. Circular. Diam- 
eter, 814, inches. 


WHISTLER, JAMES McNEILL 


491. BIBI VALENTIN. K. 50, M. 50, Gr. 30, W. 28, T. 26, 
Painter-etching. Proof on thin Dutch paper. Framed. 


492. BIBI LALOUETTE. K. 51, M. 51, Gr. 32, W. 30, T. 30. 
Painter-etching. Proof from the destroyed plate. 


WOLF, HENRY (American wood engraver). 


493. THE NEW ENGLAND PEDDLER. After Eastman John- 
son. Artist’s proof on onion-skin paper. Signed by both 
artists. Framed. 


494. PORTRAIT OF THOS. JEFFERSON. Signed artist’s 


proof on onion-skin paper. 


YOUNG, JNO. 
495. STABLE SCENE. Mezzotint after G. Morland. Proof with 


the artists’ names and the publication line in scratched 
letters. Framed. 


ZORN, ANDERS 


496. PORTRAIT OF PRESIDENT CLEVELAND. Delteil 142. 
Third state. Signed artist’s proof on Van Gelder paper. 
Framed. 


he 49%. VETTE. Painter-etching. Delteil 210. Signed artist’s proof 
xt on Whatman paper. Framed. 


498. DAGMAR. 1912. Painter-etching. Signed artist’s proof 
on Whatman paper. Framed. 


| 


——— ee 


ee ae es 


ZORN, ANDERS. (Continued) 


499. THREE SISTERS. Painter-etching. Signed proof on Van 
Gelder paper. 


500. MODEL SEATED. Painter-etching. Signed artist’s proof 
on a thin Holland paper. Framed. 


501. COMPOSITION FRAME with oval opening. Size, 28 by 
24 inches. 


502. PRINT CASES COVERED WITH BLACK LINEN. 
3: 14 by 19 by 8 inches. 1: 15 by 19 by 21% inches. 
2: 19 by 24 by 21% inches. (6.) 


AMERICAN ART ASSOCIATION, 


Managers. 


THOMAS E. KIRBY 


Auctioneer. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


"THE AMERICAN ART ASSOCIATION 


. IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


ART AND LITERARY PROPERTY 
JEWELS AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


' IN CASES WHERE 


PUBLIC SALES ARE. EFFECTED 


PeeeowrNAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 


MADISON SQUARE SOUTH 
NEW YORK 


TELEPHONE, 3346 GRAMERCY 


~ COMPOSITION, PRESSWO 
AND BINDING BY 


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